2015 Nominees for Saving Country Music’s Album of the Year
2015’s Album of the Year candidates might constitute the most wide open field of contenders since this exercise has been in practice. There’s no clear front runners, anyone could win, and each candidate has pluses and minuses.
Chris Stapleton might be the closest thing to a front runner since he’s already been such a big winner in 2015, but is that a reason to hand it a more unheralded candidate, or should the best record win regardless? And how does Chris Stapleton’s pop country songwriting baggage factor in, if at all?
Speaking of baggage, here months after Hold My Beer Vol. 1 by Randy Rogers and Wade Bowen was released, and there’s still people who haven’t given the album a chance since they don’t believe these guys can sing and perform traditional country. James McMurtry’s Complicated Game has to be in contention for the best-written album in 2015 if nothing else, but is he too much of a known quantity and an older name to create any buzz? Right there with McMurtry in the songwriting realm is Jason Isbell’s Something More Than Free, but is the album any better than Southeastern, and if it’s not, is is fair to make an Album of the Year out of something that isn’t even the artist’s best record?
Meanwhile Whitey Morgan and the Turnpike Troubadours are just as strong as any. Few will even have heard of Ward Thomas, but they may have released the most relevant record of them all. Don Henley’s surprising Cass County is as close to a country music masterpiece as anything in the field, with the rock legend not just making another record, but his definitive country record to stand for the rest of his career. And the one album that truly feels like an artist’s magnum opus—Yelawolf’s Love Story—is hip-hop. Could Saving Country Music really declare a rap record Album of the Year?
PLEASE NOTE: There will be a longer, more involved Essential Albums List posted in the coming weeks, so just because you don’t see one of your favorite records here, doesn’t mean it won’t get recognized. Albums by Jason Boland and the Stragglers, Rachel Brooke and Lonesome Wyatt, Roo Arcus, Brandi Carlile, Ryan Bingham, Jamie Lin Wilson, John Moreland, Mike and the Moonpies, Jason James, Lindi Ortega, Kacey Musgraves, and others were very close to making the list, but a line has to be drawn somewhere in an already crowded field.
Like every year, your opinion counts, and may even count more this year with no clear front runner. So please pipe up in the comments section, though it’s not just an up or down vote. Fans of a particular artist are encouraged to not just say who should win, but make a convincing case of why. This is not an up or down vote. In the end, I, Trigger, will make the final decision.
Whitey Morgan & The 78’s “Sonic Ranch”
Of the underground and independent honky tonkers I’ve had the pleasure of covering over many years, nobody has worked harder, and nobody has put in more miles than than Whitey. There’s been some that have shot to major fame seemingly overnight like Sturgill Simpson, others that seem to ride a boom and bust pattern like Leon Virgil Bowers, but Whitey Morgan is a case study all to his own.
Like rolling Buick sedans off the assembly line in Flint, Michigan one after another, day after day, year after year, not stopping to take breaks or reveling in little victories, but winning fans over one at a time, night after night, tour after tour in America’s derelict honky tonks until the word of mouth grew into a rumble, the crowds went from nearly empty to nut to butt, Whitey Morgan is now like a locomotive at full speed barreling down the tracks. Get in his way, and you’re liable to get trucked.
Named for the legendary studio compound outside of El Paso, TX known for coaxing some of the best recordings out of artists in their career, Sonic Ranch is the missing piece in what was already a well-apportioned arsenal of honky tonk firepower. (read full review)
Randy Rogers & Wade Bowen “Hold My Beer”
Boy howdy did Wade Bowen and Randy Rogers absolutely clobber the ball out of the park with this one. When I first heard they were making a studio version of their laid back, and sometimes poorly-promoted and hastily-booked “Hold My Beer and Watch This” acoustic shows annually embarked on between bigger tours, I thought we’d get a bunch of stripped-down covers, a few acoustic collaborations, and maybe a studio track or two; something more for the serious Red Dirt fan as opposed to a wide swath of the country music population. Instead we get a completely fleshed out album full of original songs that rival or potentially surpass the work either of these Texas country stalwarts have done on their primary projects, or any traditional country album released in a while.
And when I say traditional country, I’m not speaking in hyperbole or close approximations. I’m talking steel guitar and fiddle, I’m talking twang and texture, with really no departure from the traditional approach at any point. But if you come for the music, you stay for the songs, and Hold My Beer Vol. 1 showcases some of the best writing you can find in the achingly bereft country music landscape of today.
Beyond whatever assurances to prospective country music purchasers of this music that I could convey, or whatever superlatives might be levied in support of this effort, what Wade Bowen and Randy Roger do in Hold My Beer Vol. 1 is offer hope for the future of authentic country music, and once again prove that Texas does it better. (read full review)
Chris Stapleton “Traveller”
Well isn’t this cute. So the same guy that’s written songs for Luke Bryan, Lady Antebellum, and wrote that terrible Thomas Rhett single “Crash and Burn” decides he wants to release a traditional country record. I guess we’re all supposed to just hop to attention and try to forget all the trash that he’s carved his name into with songwriting credits and sally forth, huh?
Actually, that’s exactly what we’re supposed to do.
Is there a little voice in the back of my head that says, “Okay, this guy just knows how to write songs so well that he can hoodwink us into believing he’s the real deal, just like he hookwinks the rest when he’s writing pop country material?” There used to be. But the thing about Chris Stapleton is you can’t fake the passion behind that voice. There is something there that is tied so deeply with inspiration, it’s unavoidable as anything but an original and heartfelt expression of authentic emotion. (read full review)
James McMurtry “Complicated Game”
Venturing into ramshackle dive bars and overturning the stones of socioeconomic depravity to unearth the forgotten refugees cast off from the American dream and escaping the enslavement of technology by hammering out livings on the outskirts of society, Texas singer and second generation writer James McMurtry pens odes to the marginalized inhabitants of the margins, meticulously chiseling out curvatures with such intimate understanding and attention to detail that he eventually reveals canonized demi-heroes of everyday forgotten life tied to the land and living like prose in their tacked together existences while the masses speed past on the highway unbeknownst.
Six long years it took, and it may be six more before a fresh new batch arrives. But James McMurtry delivers on the promise of being one of our generation’s preeminent songwriters who can say the things that twist the rest of our tongues, create characters we never knew but feel hauntingly familiar, and fill us with and appreciation of life, both the good and the bad, and understand it is all part of the brilliant tapestry we’re all embedded in and unrolling before us. (read full review)
Don Henley – “Cass County”
Whatever you could want or hope from Don Henley’s Cass County as a country music fan, this album delivers it and in ample quantities. I don’t know that any country fan’s expectations can meet the actual enjoyment this music deals out. And this is a traditional country record. Sure there are a couple of songs you probably wouldn’t consider country at all, and maybe a couple more that would be considered more contemporary country than classic. But overall, it’s totally worthy of claiming the traditional tag. I’m talking Don Williams type stuff: slow songs, steel guitar, great songwriting, and maybe especially, some of the best singing by all the parties involved that I’ve heard in a long time.
It’s just kind of astounding how good Cass County is. Don Henley said he was going to make a country record inspired by his influences and upbringing, and that’s what he did. We’re just not used to this level of quality these days, or this level of uncompromising follow through. A tremendous amount of love and effort went into this record. This isn’t just another album, it’s Don Henley’s country album, and he wanted it to be memorable. (read full review)
Ward Thomas – “From Where We Stand”
Ward Thomas is Maddie & Tae without the baggage or the need for qualifiers or quips like “Oh, but at least it’s better than Bro-Country.” Ward Davis is First Aid Kit but with a more sensible, positive, and wide-appealing sound that doesn’t shed the intelligence or inspiration from the listening experience to get there.
if there was ever an act that American country music needed more, it would be Ward Thomas. And not because they’re traditional country, but because they’re pop country, but pop country that actually says something, assumes an intelligent audience, and attempts to inspire and entertain the public without making you feel stupid.
I’m not sure enough can be said about Ward Thomas. If country music is to be saved, then it has to happen in all sectors of the music, from bluegrass, to traditional country, to Outlaw and honky tonk, and to country pop that will appeal to young women, and to adults that are tired of the pop tart fest, and the poor messages it’s sending to listeners at large. Someone, anyone, get these girls over here and give them the support they deserve. American country music needs Ward Thomas.
Turnpike Troubadours (Self-Titled)
That’s the thing about the Turnpike Troubadours: they’ve exuded a patience and steadiness that has put them steadfastly in touch with the underlying spirit of country music. If they wanted to pivot just slightly and go some big rock route, they could blow up huge. But they didn’t and they don’t . . . and they still blew up huge. This isn’t old country. This is new country, only the roots are still attached, and the branches fan out wide.
You can look at The Turnpike Troubadours as an ass kicking live band, or you can look at them as a band behind a singer songwriter that happens to have some ass kicking songs. Their melodies could rise a little bit more. They could shorten some of their songs, or contemporize the instrumentation. This is surely what they would hear if they sailed their ship for Nashville looking for a larger slice. But they refuse to tinker with what has led them here. You get the sense they would rather quit than let down their long-term fans, or themselves. It’s still the same guys, and mostly the same sound. They remain the Turnpike Troubadours. And their destiny and prospects are better off for it. (read full review)
Yelawolf “Love Story”
So what is Saving Country Music’s interest in this new Love Story record? The serious threat of country rap seems to have waned significantly in the rise of Bro-Country, and country music faces much bigger problems now. But what Yelawolf has done with Love Story is pulled the curtain back and exposed the sheer lack of talent in the ranks of country rappers and other misguided genre benders by putting out an album that sets a creative high watermark, and bucks the narrative of commercial pandering and derivative cliché in the space between country and hip-hop. Love Story is bursting with creative vision, respect for art forms, and most importantly, it is an album that tells a very personal, self-reflective, and at times vulnerable and self-deprecating story. It is Yelawolf’s opus.
Yelawolf’s Love Story could very well be a landmark American album, and could go on to influence countless other artists and albums in the coming years. And in this transfer of influence, there will be the bits of traditional country that are instilled in this record. I cannot assign a grade Love Story because I’m not a hip-hop critic, and therefore am not qualified to rate it on certain merits or against its peers. But will this record still be standing at the end of the year when the entire recording industry gathers to consider who released the most important and influential works? There’s a chance it might be overlooked or misunderstood. But it probably deserves to be. (read full review)
Jason Isbell – “Something More Than Free”
Jason Isbell is the big dog, and you better pay attention when he releases an album, whether your wool is dyed in Americana colors, or you’re a country, folk, or rock fan peering into the Americana world from the outside in.
Anticipation is not always an artist’s best friend. The problem with releasing a career album that is showered with critical acclaim is where to go next. You try the same thing again and the audience may feel it’s a flat effort. You veer to far out-of-bounds and you risk losing your direction and the momentum behind it. Isbell’s last record Southeastern is still racking up plaudits in certain sectors, and here he is trying to get you to pay attention to a new one.
Ultimately, writing a review for an album like this is pointless. If you fancy yourself a music fan, whether specialized to the Americana, country, rock, or folk realms, you probably already have an opinion on Jason Isbell, and you are going to want to be listening to this album and give it attentive consideration. Because it is the work of Jason Isbell, and it’s the one all others will be measured by. (read full review)
December 1, 2015 @ 3:33 pm
Working my way through “Hold My Beer” but of the ones I’ve heard:
1. Turnpike
2. Stapleton
3. Henley
4. Isbell
Although “Workingman’s Bellfuries” may not qualify as country, I think it’s better than any of them.
December 1, 2015 @ 8:15 pm
Ok so am I the only one that loves American Aquarium’s Wolves? I’m not saying it should be a top 5 for the year album, but I find myself always going back to that album frequently. I guess it struck a chord with me.
December 1, 2015 @ 8:56 pm
I’d say there were a lot of folks that love “Wolves.” I enjoyed the album, but it wasn’t particularly country, and I just felt it was a little too off-the-page from what I came to expect from American Aquarium. But that’s just my opinion. If it’s your favorite album, that’s all that matters. My goal is to hopefully fill in knowledge gaps in great projects with these end-of-year exercises.
December 1, 2015 @ 9:50 pm
Hey I understand. I actually had to look up if the album was from 2015 or 2014 because I don’t see it mentioned by anyone anywhere for 2015 albums.
I love what sites like this one does to help present artists to a wider audience. So don’t think I’m complaining or anything. You have cost me so much money over the last 4 years or so by doing what you do. These year end lists are my favorites.
December 15, 2015 @ 8:51 pm
“Wolves” is a top 10 for me. I’m not slone.
December 1, 2015 @ 8:25 pm
I am a little confused Trigger. Are you picking your favorite “country album of the year”, your favorite “saving country music album of the year” or your favorite “genre-free album of the year”?
If I’m picking my favorite “saving country music album of the year”, it’s “Traveller”. No contest.
December 1, 2015 @ 8:53 pm
This is the “Saving Country Music’s Album of the Year,” and this is a very important point to understand. I do not speak for country music, I only speak for myself and this site. I don’t want to act like I am the arbiter for all of country. I’m just the arbiter of my opinion.
As for the genre, obviously the more country an album is, the more likely it’s going to be included here or win. But if an album had a major impact within the country music space, or is from a country artist, then it could still be considered.
December 2, 2015 @ 1:53 am
Country music? Are you telling me other than Alan Jackson, Merle Haggard, Connie Smith and Willie Nelson there are any Real Country Music singers left? County radio today is nothing more than no-melody rap songs by people who all sound the same.
December 2, 2015 @ 4:03 pm
Hey, I just remembered that Blackberry Smoke album that was released earlier this year. I hope that makes the essential albums list.
The music on that record is great, but it hurts my ears. 😉
December 2, 2015 @ 8:13 pm
I gotta go with Isbell. His album moved me more than any other this year. I particularly love How to Forget, If It Takes a Lifetime, and 24 Frames. I love how his songs are thoughtful, interesting short stories. After Isbell I would go with Kacey Musgraves, Allison Moorer, Turnpike Troubadours, and Ashley Monroe. Also I really loved half of Angels and Alcohol. There was just too many silly songs.
December 3, 2015 @ 7:51 am
I have not heard everything on this list, and will have to look into those that I missed, but I honestly can’t imagine anything knocking Turnpike Troubadours out of the number one spot for me this year. It instantly gets my vote. A tougher exercise would be rounding out the top 3. Stapleton and Isbell would probably do it.
December 4, 2015 @ 7:02 pm
Daniel Romano’s newest is easily my top album this year.
December 4, 2015 @ 7:42 pm
I got two
In
My
List as well
Chris and Wade.Randy
December 4, 2015 @ 9:57 pm
Hold my beer
Turnpike
Traveler
Something more than free
Easy picks for me. But I find it harder to get into whitey and don Henley, though I do like some stand out songs overall I’m not as big
of a fan as those four, in that order
December 6, 2015 @ 1:51 pm
My top ten:
1. James McMurtry – Complicated Game
2. Jason Isbell – Something More Than Free
3. Dave Rawlings Machine – Nashville Obsolete
4. Richard Thompson – Still
5. Patty Griffin – Servant of Love
6. Daniel Romano – If I’ve Only One Time Askin’
7. Jim Lauderdale – Soul Searching
8. Charlie Parr – Stumpjumper
9. Whitey Morgan – Sonic Ranch
10. Lindi Ortega – Faded Gloryville
Others close behind: Chris Stapleton (Traveller), Rhiannon Giddens (Tomorrow Is My Turn), Dave Alvin and Phil Alvin (Lost Time)
December 7, 2015 @ 7:09 am
My choice is Panhandle Rambler by Joe Fly.
December 8, 2015 @ 9:26 pm
I know I’m late to the bitch session…
How does Knuckleball Prime not make this list?
December 8, 2015 @ 11:14 pm
I’m sure it will be on the Essential Albums list coming up soon.
December 11, 2015 @ 11:07 am
Interesting how the year played out. A lot of highly anticipated releases–for me anyway. Turnpike was the release I most looked foward to, but I was a little disappointed with it. Not a bad song on it, but nothing that blew me away really. Squelch gets my nod,if I could pick from any release. Of the above listed choices, I would have go with Traveller. Hope to see Corb Lund, Slackeye Slim, and The Mavericks make the essential albums list at least. All were excellent IMO.
December 12, 2015 @ 5:13 pm
Not sure if anyone else has heard it but for my money Hailey Whitters album Black Sheep is the best of the year.
December 15, 2015 @ 8:18 am
Yellowolf in, Cody Jinks out?????? That don’t make no sense at all Hoss.
December 18, 2015 @ 11:04 am
For me the album of the year is “Hold My Beer vol 1”, easy choice. It helps that I got to see Wade and Randy play some of those songs together live on their most recent tour.
To me Isbell’s record was very unfortunately, massively underwhelming, and Don Henley’s record sounds too much like everything else Don Henley has ever done that it’s not remarkable either. Neither are bad records at all, but considering how hyped I was for both, they seriously let me down.
December 20, 2015 @ 9:03 am
My two cents:
There was not a superlative album this year, one as good as Sturgill’s High Top Mountain or TT’s Goodbye Normal St. in years past.
That said, Isbell and TT both put out very, very good albums, each with some truly excellent songs (but also, in my opinion, a few misses). I’d give the award to either of them.
And I think I’m the only one who thinks Traveler is vastly overrated. Stapleton has an excellent voice but the songs didn’t do it for me. Good album, but not great, and certainly not a contender for album of the year in my opinion.
December 26, 2015 @ 11:55 am
I’m going with the cranky old white guy, Don Henley and Cass County.
December 26, 2015 @ 12:22 pm
Gotta go with “Traveller.” It’s a great album, and it resonated in a “saving country music” kinda way.
December 26, 2015 @ 12:26 pm
Since Lucero isn’t on the list it’s Turnpike all day and every day.
December 26, 2015 @ 2:16 pm
Being that these are the “Saving Country Music” nominees, Chris Stapleton is the clear cut winner with Traveller. It’s not just my opinion, it is what it is. Nobody was in the same realm of “saving country music” as Chris. His performance had Luke Bryan, Aldean, etc fans losing their minds on facebook when he was on the CMA’s. It was pretty cool, TBH. I remember quite a few friends on FB asking for recommendations on others like Stapleton. From those requests, there are new fans of Sturgill, Isbell, Turnpike, etc. I remember thinking that night that the barn doors were swinging wide open for the emergence of the many great country acts out right now.
A distant but respectable 2nd place would have to go to Jason Isbell. He debuted at #1 on multiple Billboard charts which is huge for him, us, and the genres of country and Americana.
My personal number one? The incredible Turnpike Troubadours. They keep churning out amazing big country band sounds with each album and their S/T did nothing to hurt this. Evan Felker is among the greats in the modern country world.
December 26, 2015 @ 3:46 pm
My most played country album this year is definitely Angeleno by Sam Outlaw!
December 27, 2015 @ 1:16 pm
Where’s the love for Aaron Lee Tasjan’s astounding album on these lists?
Can’t say the Isbell/Stapleton records did it for me as much as Richard Inman, hiss golden messenger, Andrew combs, john Moreland, and daniel Romano
December 28, 2015 @ 11:04 pm
I’ve been listening to Whitey Morgan’s Sonic Ranch on a good pair of speakers, and man, it packs a powerful punch. A previous commenter named Jake summed it up well by mentioning “the grit beneath the polish” on that record, and how it achieves that balance perfectly. I’d say Sonic Ranch is exactly how a modern honky-tonk record should sound in more ways than one.
Just thought I’d throw that out there.